普罗米修斯的茴香枝 | 姚磊个展
威尼斯流浪汉 | 张力晖个展
2020.12.5 - 2021.1.12
YAO LEI SOLO EXHIBITION | FENNEL STALK OF PROMETHEUS
ZHANG LIHUI SOLO EXHIBITION | THE TRAMP OF VENICE
2020.12.5 - 2021.1.12
张力晖 | Zhang Lihui 阿希诺伊 Ashleyneuey 布面油画 Oil on canvas 140x180cm
张力晖 | Zhang Lihui 罗曼史 布面油画 Romance Oil on canvas 150x200cm
张力晖 | Zhang Lihui 情人 布面综合材料 Lover Mixed media on canvas 150x180cm
张力晖 | Zhang Lihui 面具和仪式 布面油画 Masks and rituals Oil on canvas 150x200cm
张力晖 | Zhang Lihui 一次审判 布面油画 A trial Oil on canvas 150x200cm
张力晖 | Zhang Lihui 一个露乳女子的肖像 布面油画 The portrait of an exposed breast woman Oil on canvas 150x200cm
张力晖 | Zhang Lihui 一次狂喜 布面油画 A ecstasy Oil on canvas 150x200cm
姚磊作品 | Yao Lei 迷失地丁(四）Lost No.4 亚麻丙烯I acrylic on canvas 150×200cm 2014
姚磊作品 | Yao Lei 迷失地丁(三) | Lost No.3 亚麻丙烯| acrylic on canvas 150×200cm 2014
姚磊作品 | Yao Lei 普罗米修斯的茴香枝（二）| Fennel stalk of Prometheus No.2 亚麻丙烯| acrylic on canvas 150×200cm 2020
姚磊作品 | Yao Lei 普罗米修斯的茴香枝（三）| Fennel stalk of Prometheus No.3 亚麻丙烯| acrylic on canvas 150×200cm 2020
姚磊作品 | Yao Lei 说书| storytelling 亚麻丙烯| acrylic on canvas 110×150cm 2020
姚磊作品 | Yao Lei 复辟或重建| Restoration or reconstruction 亚麻丙烯| acrylic on canvas 155×195cm 2020
姚磊作品 | Yao Lei 大历史| Big History 亚麻丙烯| acrylic on canvas 110×150cm 2020
姚磊作品 | Yao Lei 未尽状态（二）| The Unfinished State No.2 亚麻丙烯| acrylic on canvas 110×150cm 2020
姚磊作品 | Yao Lei 普罗米修斯的茴香枝（一） | Fennel stalk of Prometheus No.1 亚麻丙烯| acrylic on canvas 150×200cm 2019
姚磊作品 | Yao Lei 野烧西苔岛，再觅新田园| Burning Cythera and Finding a New Land 亚麻丙烯| acrylic on canvas 120×170cm 2015
华托 (Antoine Watteau，1684-1721) 用轻薄模糊的笔触，布置了《舟发西苔岛 》的场景 ，画中的人物就像剧场的演员。一位天使举着火，场景在烟雾弥漫的气氛下成为舞台的帷幕。这一切如同得到了造物主的启示。神秘理想的“桃花源”已不复存在，开始向着启蒙运动进发，而运动远没有结束。我想借用这个图式传递此在的危情。《野烧西苔岛，再觅新田园》的名字中 “野烧”两字，同时把姜夔（1154-1221）年的《昔游诗》中“不见行路人，但见草木蕃。忽看野烧起，大焰烧乾坤”以及罗聘（1733-1799）的画《忽看野烧起》中同样的情绪串联起来。画法上，一边建立一边破坏，反反复复。画面也更像一面无法穿透的墙，图像通过材料物质化的呈现，在空间上混为个体。
Fennel Stalk of Prometheus
Fennel stalk, as the material for the storage of fire, implies the generation and corruption of fire, as well as the connotation of the story itself. Prometheus foisted "blind hope" into a man's chest and made him forget his own corruption. The story itself is not important, but its interpretation is deduced into a real swirl, and both of them are generated and present at the same time. When people personify their own "prophetic" nature, the prophet itself, as the meaning of prophet, also becomes the material carrying its meaning. The resulting "generation and corruption" is in the cycle of nature. I took my work as the boundary, and shrink the power of deduction on the planar carrier while exposing the nature and events of dramatization. The exhibition starts from pigment clots scratched from pictures, eastern shepherds light fires to warm themselves in the vast northwest area…to the enlightenment, the westward movement, restoration or reconstruction, and is finally placed on the picture and finishes as the unburned state.
I was born in Henan, the end of Loess Plateau. No matter whether it's caused by global trade wind and dustfall or "even Zhuge Liang and Gongsun Shu eventually became a handful of dirt", the contradiction between "sudden longing for relatives and friends part for a long time" and "constrained body", how does matter meet and part, how to prove "Dasein", these questions decide my personal understanding of painting: how to describe that things don't have essential and stable structures, and what we face is only endless void and deduction of some will.
After visiting and reading lots of eastern and western frescos with the questions, it seems that the questions have been realized. Firstly, fresco, picture meaning produced by experience, has its own barriers while being placed on the plane. Secondly, the meaning of the picture is involved in the common degradation of material, opposition between broken, unrecognizable and vanished form quality (catastrophe, danger, infinite) and observers (life, dasein, finite). Thirdly, the aesthetic relationship between the light color that is inclined to nothingness and the dark color that is inclined to emptiness is formed due to oxidation or shedding.
I simulated a mud wall with pigment at first, and drew a scene on generation and corruption with naturalistic experience, hoping that the meaning of the picture can participate in the materials on the plane. Desert in the northwest, sun in the winter, and clusters of weeds grow on earth, the extension of their lines reminds me of the deadwood mentioned in Guo Xi's (1023-1085) Early Spring to grab the frozen steam, and the shepherd set it on fire to keep warm. In the chord tone of Interlude of Country knight, everything becomes wandering and whirly.
Watteau (1684-1721) laid out the scene for The Pilgrimage to the Island of Cythera with flimsy and vague brushwork, and the characters in the picture are like actors in the theater. One of the angels holds the fire, the scene becomes the curtain of the stage under the halation of smoke, all is like being inspired by the creator. The "Peach-Blossom Source" type of mysterious ideal no longer exists, but moves toward the enlightenment. The movement is far from over, and I hope to convey the danger with the schema. "Burning" in the title of Burning Cythera and Finding a New Land is lined up with "No travelers appear, but lush grass and trees are there. Fire breaks out suddenly and flame lights up the sky high" in Jiang Kui's (1154-1221) Poetry of Past Journey and the same emotions in Luo Pin's (1733-1799) At the Sight of the Sudden Wildfire. He repeatedly established while destroying, and the picture is also more like an impenetrable wall, the image is presented by materialistic materials and is mixed into individuals in space.
"Movement" itself necessarily causes despair, but it can only be alleviated by "movement". Romanticism took over the fire, and placed it in the pioneer's office; the setting sun shines, the land is rich in beauty…, such sense of infinity made the pioneer himself have sublime satisfaction. Albert Bierstadt (1830-1902) created the full view of "reality" with minute details, while I introduced his images and the social movements caused behind, and also introduced degradation. In the triptych of Fennel Stalk of Prometheus, the relationship between image and dust echoes the relationship between ash and fire, continues the deduction of will and the endlessness of space, and attributes us and things together to an open territory.
The next is to shrink the elements of the story on a plane and make them prove themselves. The first thing need to do in Restoration or Reconstruction is to place on the plane the concept "Pneuma (Greek, breath)—the compound of fire and air is the cause for the maintenance of all existents". This reminds me of the Bodhisattva portrait of Grotto 57 in Mogao Grottoes, artistic conception and vitality are emitted from the tide-generating and encroachment as well as the oxidation and ink-soaking of frescos. Addition is done based on painting technique, a layer is painted, a thin layer of white is added, and then they're covered and shaded. In this way, tide-generating and encroachment can be achieved, and darker colors are emptier. Since the environment should also be watery, colors of tropical fruit and moss on walls are used. The trees also have texture like shrimps, lines like rain and red flames are added. Two pictures of people of different genders are attached, which close over each other and corrupt in the blind hope. Prometheus made a human shape with clay, while Athena endowed it a soul with memories. Athena is the viewer, and the viewer is also the one who can restore or rebuild.
The background in Story Telling is described as the "cave" type of universe. Story telling forms the world, since the world corresponds to the experiential world and also language, the boundary of language is the boundary of the world; however, "cave" itself establishes the concept beyond cave, just like what outside the world is. So the behavior of story telling is attached to the background that can be described.
In Big History, the generation that laid the foundation combined all the advantages of animals with the solemnity and noble intention displayed by the educated people of our time. It's exactly how cycle of history is, such cycle is like a play on the stage. The black water stain of Burning Cythera and Finding a New Land has dropped down, the night at the background becomes a curtain of starry sky, Ursa Major and Cassiopeia rotate forever.
Finally, in The Unfinished State, I remain skeptical of cognition, all matters will lose foundations if taking away cognition, just like stones on the Gobi Desert, if they don't have carrier, they'll be like floating meteorite belts inlayed in the background of "nothingness".
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张力晖 | Zhang Lijhui